Improvisation: the skill of using bodies, space, imagination, objects and all human resources to generate or to reformulate a coherent physical expression of an idea, a situation and a character (even, perhaps, a text); to do this spontaneously, in response to the immediate stimuli of one’s environment, without preconceptions.

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ------------Anthony Frost and Ralph Yarrow (2016: xv)

即興創(chuàng)作：利用身體伪窖、空間混坞、想象偏窝、物體和所有人力資源來(lái)產(chǎn)生或重新形成一個(gè)想法、一個(gè)情況和一個(gè)角色（甚至可能是一個(gè)文本）的連貫的物理表達(dá)的技能帖族；自然地響應(yīng)環(huán)境的直接刺激，而沒(méi)有先入之見(jiàn)挡爵。

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?-------安東尼·弗羅斯特和拉爾夫·亞羅（2016年：xv）

Definitions of “improvisation” are largely based on the theories and practices of jazz music and theatre improvisation. We prefer Frost and Yarrow’s definition above because it reinforces that improvisation is first and foremost a “skill” used to respond to one’s environment, putting the focus “inside the box”3 rather than outside. Improvisers are inspired by sources in the room (especially other people) as they give complete sensory attention to the moment unfolding.

“即興創(chuàng)作”的定義主要是基于爵士樂(lè)和戲劇即興創(chuàng)作的理論和實(shí)踐竖般。我們更喜歡弗羅斯特和亞羅上面的定義，因?yàn)樗鼜?qiáng)化了即興創(chuàng)作首先是一種應(yīng)對(duì)環(huán)境的“技能”茶鹃，把焦點(diǎn)放在“盒子里”3而不是在外面涣雕。即興表演者的靈感來(lái)自于房間里的消息來(lái)源（尤其是其他人），因?yàn)樗麄儗?duì)正在展開(kāi)的時(shí)刻給予了完全的感官關(guān)注闭翩。

In Improvisation in Drama, Theatre and Performance, Frost and Yarrow reveal the significance of improvisation used in theatre training and rehearsals throughout history and across cultures. Improvisation has been integral to the theatrical process—to develop truthful behavior in text-based performance, to liberate the actor’s body and imagination, to generate material, to build an ensemble, to respond instinctively to the moment—for a long time, as evidenced by Stanislavsky’s use of improvisation in rehearsals in Russia at the turn of the twentieth century. Even as far back as the sixteenth and seventeenth centuries,historians contend commedia dell’arte troupes improvised dialogue and action within preset scenarios. Improvisation as a performance in and of itself became extremely popular in the late 1950s and early 1960s thanks to the groundbreaking work of Keith Johnstone and his Theatre Machine in Europe and to Paul Sills and The Second City, the company he co-founded in Chicago in 1959. Many authors in this anthology trace their personal histories to these pioneers of improvisation.

在戲劇挣郭、戲劇和表演的即興創(chuàng)作中，弗羅斯特和亞羅揭示了在整個(gè)歷史和跨文化的戲劇訓(xùn)練和排練中使用的即興創(chuàng)作的重要性疗韵。即興創(chuàng)作是戲劇過(guò)程中不可或缺的一部分——發(fā)展基于文本的表演中的真實(shí)行為兑障，解放演員的身體和想象力，產(chǎn)生素材蕉汪，建立合奏流译，本能地回應(yīng)當(dāng)下——很長(zhǎng)一段時(shí)間以來(lái)，斯坦尼斯拉夫斯基在20世紀(jì)初的俄羅斯排練時(shí)使用即興表演就證明了這一點(diǎn)者疤。甚至早在16和十七世紀(jì)福澡，歷史學(xué)家認(rèn)為，喜劇劇團(tuán)在預(yù)設(shè)的場(chǎng)景下即興對(duì)話和行動(dòng)驹马。即興表演本身變得非常流行在20世紀(jì)50年代末和60年代早期由于基斯·約翰斯通和他的戲劇機(jī)器在歐洲和保羅·西爾斯和第二個(gè)城市竞漾，他在1959年在芝加哥共同創(chuàng)立的公司。這本選集中的許多作者將他們的個(gè)人歷史追溯到這些即興創(chuàng)作的先驅(qū)窥翩。

One goal of this book is to establish AI as a field of study worthy of independent investigation. Currently, improvisation applied beyond conventional theatre practices and spaces is frequently categorized within the field of Applied Theatre; but just as Applied Theatre has come to mean theatre practice applied outside of conventional mainstream theatre (e.g. in education, community, and political spaces) to bring about positive change, AI, too, has taken on a new meaning, beyond the field of Applied Theatre.

這本書(shū)的一個(gè)目標(biāo)是建立人工智能作為一個(gè)值得獨(dú)立研究的研究領(lǐng)域业岁。目前，超越傳統(tǒng)戲劇實(shí)踐和空間的即興創(chuàng)作經(jīng)常被歸類為應(yīng)用戲劇領(lǐng)域寇蚊；但正如應(yīng)用劇院已經(jīng)意味著應(yīng)用于傳統(tǒng)主流戲劇之外的戲劇實(shí)踐笔时。為了帶來(lái)積極的變革，人工智能也有了一種新的意義仗岸，超越了應(yīng)用戲劇的領(lǐng)域允耿。

While schools of business, law, science, and education are increasingly adding AI courses into their programming, surprisingly, the one discipline in academia that has not fully embraced AI is theatre, which seems to be the natural destination for training future AI facilitators. Improvisation classes are often offered in theatre programs and improvisational processes are utilized in acting classrooms and rehearsal spaces, but courses that specifically introduce theatre students—especially students not interested in acting careers—to AI training or to AI facilitation as a potential, viable career path are almost impossible to find.

雖然商學(xué)院借笙、法律、科學(xué)和教育學(xué)院越來(lái)越多地在其編程中增加人工智能課程较锡，但令人驚訝的是业稼，學(xué)術(shù)界沒(méi)有完全接受人工智能的一門學(xué)科是戲劇，這似乎是培訓(xùn)未來(lái)人工智能促進(jìn)者的自然目的地蚂蕴。即興表演課程通常在戲劇項(xiàng)目中提供低散，即興表演過(guò)程被用于表演教室和排練空間，但特別向戲劇學(xué)生（特別是對(duì)表演職業(yè)不感興趣的學(xué)生）介紹人工智能培訓(xùn)或人工智能促進(jìn)作為一種潛在的骡楼、可行的職業(yè)道路的課程幾乎是不可能找到的熔号。

Applied Theatre, theatre for/as social change, and community-based theatre courses often incorporate improvisation as part of their methodology, especially the games of Augusto Boal. The main objective of these courses is, generally, to train students to use theatre methods in/with nonprofit organizations and communities to bring about social, political, and restorative change. Within this anthology, at least half of the case studies apply improvisation to prompt similar change; however, Applied Theatre course work often involves creating a performance (sometimes scripted) that addresses the needs of a particular project. AI course work almost never involves creating a theatrical performance, in the traditional sense.The “performance” happens when students successfully?function and respond like skilled improvisers, beyond the classroom, in collaborative environments. Furthermore, while AI work does happen in/with nonprofit organizations and communities, most AI work is happening in the private sector (with for-profit organizations), and it is this branch of the work that is not included for study in Applied Theatre courses.

應(yīng)用戲劇、社會(huì)變革戲劇和社區(qū)戲劇課程經(jīng)常將即興創(chuàng)作作為其方法論的一部分鸟整，特別是奧古斯托·博爾的游戲引镊。這些課程的主要目標(biāo)一般是培訓(xùn)學(xué)生在非營(yíng)利組織和社區(qū)中使用戲劇方法，以帶來(lái)社會(huì)篮条、政治和恢復(fù)性的變革弟头。在這本選集中，至少有一半的案例研究應(yīng)用即興創(chuàng)作來(lái)促使類似的變化涉茧；然而亮瓷，應(yīng)用戲劇課程的工作通常涉及創(chuàng)造一個(gè)表演（有時(shí)是腳本的），以滿足特定項(xiàng)目的需求降瞳。人工智能課程的工作幾乎從不涉及創(chuàng)造一種傳統(tǒng)意義上的戲劇表演嘱支。當(dāng)學(xué)生在協(xié)作環(huán)境中成功地像熟練的即興演奏者一樣做出反應(yīng)時(shí)，就會(huì)發(fā)生“表演”挣饥。此外除师，雖然人工智能工作確實(shí)發(fā)生在非營(yíng)利性組織和社區(qū)中，但大多數(shù)人工智能工作發(fā)生在私營(yíng)部門（與營(yíng)利性組織一起）扔枫，而工作的這個(gè)分支不包括在應(yīng)用戲劇課程中學(xué)習(xí)

This is understandable. Applied Theatre, a well-established field that contains numerous theatre approaches and practices, has so much to cover already; and the work, which often engages marginalized communities and tackles systemic problems, can have very different objectives than the work of AI facilitators working with, for example, corporate teams. So, if Applied Theatre courses are not introducing AI to their theatre students, and theatre students are already developing abilities relevant to professional careers in AI facilitation, what needs to be done? Just as schools of law offer courses in both Civil Rights Law and Business Law, and sociology departments prep students for careers as diverse as social work and urban planning, schools of theatre must offer both Applied Theatre and AI courses to better prepare theatre students, entering a very competitive market, for a range of careers.

這是可以理解的汛聚。應(yīng)用劇院，一個(gè)成熟的領(lǐng)域短荐，包含了許多戲劇方法和實(shí)踐倚舀，已經(jīng)有很多內(nèi)容要涵蓋；經(jīng)常涉及邊緣社區(qū)和解決系統(tǒng)問(wèn)題的工作忍宋，可能與與企業(yè)團(tuán)隊(duì)合作的人工智能主持人的工作目標(biāo)非常不同痕貌。所以，如果應(yīng)用戲劇課程沒(méi)有向他們的戲劇學(xué)生介紹人工智能糠排，而戲劇學(xué)生已經(jīng)在發(fā)展與人工智能促進(jìn)方面的職業(yè)生涯相關(guān)的能力舵稠，那么需要做什么呢？正如法學(xué)院提供課程在民權(quán)法和商法，和社會(huì)學(xué)系準(zhǔn)備學(xué)生職業(yè)多元化的社會(huì)工作和城市規(guī)劃哺徊，戲劇學(xué)校必須提供應(yīng)用戲劇和人工智能課程來(lái)更好地準(zhǔn)備戲劇學(xué)生室琢，進(jìn)入一個(gè)競(jìng)爭(zhēng)非常激烈的市場(chǎng)，一系列的職業(yè)落追。

Out of the 5,000-plus trainers, facilitators, consultants, executives, educators, scientists, artists, aid workers, therapists, and managers who have joined the Applied Improvisation Network (AIN), we conjecture that only a small percentage earned an undergraduate or graduate degree in theatre. We are optimistic that this percentage will increase once theatre departments begin adding AI courses to their curriculum. While the field has yet to attract theatre graduates, Paul Z. Jackson, president emeritus of AIN, told us, “Many AIN facilitators have been introduced to improvisation via theatre improvisation performances and workshops.”4

在加入了應(yīng)用即興創(chuàng)作網(wǎng)絡(luò)(AIN)的5000多名培訓(xùn)師盈滴、輔導(dǎo)員、顧問(wèn)轿钠、高管巢钓、教育工作者、科學(xué)家谣膳、藝術(shù)家竿报、援助工作者铅乡、治療師和經(jīng)理中继谚，我們推測(cè)只有一小部分人獲得了戲劇的本科或研究生學(xué)位。我們樂(lè)觀地認(rèn)為阵幸，一旦戲劇系開(kāi)始在其課程中增加人工智能課程花履，這一比例將會(huì)增加。雖然該領(lǐng)域還沒(méi)有吸引戲劇畢業(yè)生挚赊，但AIN名譽(yù)總裁保羅·z·杰克遜告訴我們诡壁，“許多AIN主持人通過(guò)戲劇即興表演和講習(xí)班被介紹到即興創(chuàng)作≤睿”4

But even if the impro methods adopted by AI facilitators are rooted in theatre improvisation, as we said before, most theatre and theatre improvisation courses and workshops are not teaching students how to apply impro in non-theatre or nonperformance contexts. This brings up one final argument in support of assigning AI a field of its own. The majority of AI facilitators discovered independently, on their own, or through networking, how well impro cross-pollinates with disciplines beyond theatre; and while?facilitators can and often do benefit from theatre theory and practice, most often they associate, substantiate, reinforce, and/or augment what they do (theoretically and practically) with leading studies in organizational behavior, strategic management, social science, critical pedagogy, group innovation, creativity, and so on. AI is interdisciplinary, multifaceted, robust, and ready to stand on its own; it is grounded in a theatre context yet deviates enough from Applied Theatre practice to warrant its own field of study. We hope this first collection of AI case studies will be instrumental in making that happen.

但是妹卿，即使人工智能主持人所采用的即興創(chuàng)作方法植根于戲劇即興創(chuàng)作，正如我們之前所說(shuō)的蔑鹦，大多數(shù)戲劇和戲劇即興創(chuàng)作課程和研討會(huì)并沒(méi)有教學(xué)生如何在非戲劇或非表演的背景下應(yīng)用即興創(chuàng)作夺克。這就提出了最后一個(gè)參數(shù)來(lái)支持分配AI一個(gè)自己的字段。大多數(shù)人工智能主持人獨(dú)立發(fā)現(xiàn)嚎朽，自己或通過(guò)網(wǎng)絡(luò)發(fā)現(xiàn)铺纽，與戲劇以外的學(xué)科跨境傳粉；雖然主持人可以而且經(jīng)常受益于戲劇理論和實(shí)踐哟忍，但大多數(shù)情況下狡门，他們將其行為、證實(shí)锅很、加強(qiáng)和/或與組織行為其馏、戰(zhàn)略管理、社會(huì)科學(xué)爆安、批判教育學(xué)尝偎、群體創(chuàng)新和創(chuàng)造力等領(lǐng)先研究聯(lián)系起來(lái)（理論和實(shí)踐上）。人工智能是跨學(xué)科的、多面的致扯、強(qiáng)大的肤寝，準(zhǔn)備獨(dú)立站立；它基于戲劇背景抖僵，但足夠偏離應(yīng)用戲劇實(shí)踐鲤看，足以保證自己的研究領(lǐng)域。我們希望這第一個(gè)人工智能案例研究的集合將有助于實(shí)現(xiàn)這一點(diǎn)耍群。